The Curse Of The Chills / Martin Phillips 'Live At The Moth Club'

Fire Records

The Curse Of The Chills / Martin Phillips 'Live At The Moth Club'

Hard Back Book. This exclusive hardback book contains 'The Curse Of the Chills' documentary on DVD, as well as the Martin Phillipps - Live At The Moth Club, London 2015.

‘The Curse Of The Chills’ is a major new feature documentary that features never-before-seen live footage, interviews and archive. With exclusive access to the Phillipps family home video archive, the film provides an intimate portrait of the man behind the Chills.

Exploring the source of his creativity and his songwriting aesthetic, the film also follows Martin on his journey from scenester musician to international star, then follows him on the downward spiral, interest in the band waned and depression and addiction set in.

It’s an age old rock and roll story where Martin is unflinchingly honest about his heroin addiction and struggles with Hepatitis.

Happily, there is a final act to the story, and the film is ultimately one of redemption and vindication of living a life that stays true to your beliefs – whatever the cost.

Hard back book, containing Martin Phillips – Live At The Moth Club CD and ‘The Curse Of The Chills’ documentary on DVD.

A precursor to Lynch’s Twin Peaks and Mulholland Drive, Blue Velvet sets a template for ethereal noir soundtracks in a modern, quite disturbed age. “The shock of the new fades by definition, but it has hardly done so in the case of Blue Velvet.” Dennis Lim, Salon, 2016

"The haunting soundtrack accompanies the title credits, then weaves through the narrative, accentuating the noir mood of the film." - John Alexander, The British Film Resource

You know that feeling you get when you’re shook awake in mid-dream? You were teetering on the ledge of a building, or maybe trying to free a butterfly from a spider web while wearing cricket gloves? Perhaps you’re running late for a train and your short cut takes you through a bad part of town, you’re being followed but the ever changing reflection in the shop window is a younger you, a healthier person – with a better hairstyle. It’s an anxiety thing, an off-kilter almost world, best summed up on the soundtrack for Blue Velvet, David Lynch’s 1986 film that nods somnambulantly to the shadowy netherworld of film noir.

Oedipal fantasies, finding a severed ear on your way home, voyeurism, crime and retribution, violence; they’re all there in abundance in the movie, a rotten sleazy commercialism set off against a set of strange situations that the edge of the seat is never far away from. And what soundtrack would suit such an experience? Of course a mix of orchestral pieces from composer and conductor Angelo Badalamenti inspired by Shoshtakovich’s 15th Symphony (which rumour has it Lynch played onset to create the ‘mood’) mixed up with trashy Hammond-led boogie and overblown baroque pop from Roy Orbison and Ketty Lester, suitable for any dive’s jukebox.

That awkward mix plays itself out in Isabella Rossellini as Dorothy’s rendition of the song ‘Blue Velvet’ that melds beautifully and indeed hauntingly into ‘Blue Star’, a broken piece of vintage pop. Similarly, the track ‘Going Down To Lincoln’ with its narrative audio shtick takes all of the previously-mused elements to create a perfectly disjointed travelogue. The soundtrack album starts with Bernard Hermann-styled Hitchcock-esque strings and violin slashes, which dally before deconstructing the themes and motifs into a disturbing procession that climaxes with Julee Cruise’s funereal ‘Mysteries Of Love’, a fittingly titled epilogue to an epic that concludes with the hero’s true love’s reality of a simplistic birdsong dream from earlier in the film.

It’s a cyclical trip that feeds directly back to the beginning and, yes, there’s that severed ear again, now ant infested laying on the ground, proving that dreams become real, or is it reality that becomes a dream?

Remastered by Bob Weston and featuring new liner notes by MAGNET magazine editor Eric Miller, physical copies of Vee Vee includes sixteen bonus tracks and new cover art re-imagined by graphic artist Jay Ryan. Reissues of All the Nation's Airports and White Trash Heroes followed later in 2012.

The first full-length produced by Bob Weston, Vee Vee was a slight departure from the previous bombastic noisepop that characterized Archers of Loaf's previous work, and it proved that the band wasn't just a flash in the pan. The album became their best-selling album to date and landed them on the covers of most fanzines and at the top of college radio charts across the country. "Harnessed in Slums" and "Greatest of All Time" became anthems of the underground and led to successful tours with the Flaming Lips and Weezer.

CD 1:1. Step into the Light2. Harnessed in Slums3. Nevermind the Enemy4. Greatest of All Time5. Underdogs of Nipomo6. Floating Friends7. 19858. Fabricoh9. Nostalgia10. Let the Loser Melt11. Death in the Park12. The Worst Has Yet to Come13. Underachievers March and Fight Song

New Zealand/New York City legends Bailterspace, offer up their best album to date with their first new recordings in 13 years. The band were once described by Pitchfork as "simultaneously beautiful, jagged, atonal, and supremely melodic" and 'Strobosphere' emerges at a time when the band's trailblazing sound has never been more relevant.

Revered as one of the loudest and most intense live bands of all-time, they haven't lost any of their bite or their love of tone, dissonance, and melody. The first single "No Sense" darts, snaps and swirls with alternating snare cracks, atmospheric surges and dirty buzz, featuring Parker's distinctive vocals.

'Peace on Venus' by Philadelphia's foremost purveyors of psychedelic rock, Bardo Pond. Delving deep in to their subconscious to bring it to the conscious, the band again dazzle us with their gift for heavy riffs laced with soaring vocals and swathes of sound.

The recording process of 'Peace On Venus' used the principle of the Quintessence, which is a principle cited by the 16th Century physician Paracelsus, who noted: "Nothing of true value is located in the body of a substance, but in the virtue thereof, and this is the principle of theQuintessence, which reduces, say 20 lbs. of a given substance into a single Ounce, and that ounce far exceeds the 20 lbs. in potency. Hence the less there is of body, the more in proportion is the virtue thereof."